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viewing 1 To 25 of 35 items
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2LP
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SCH 014LP
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CD
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SCH 014CD
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Classic year 2000 debut album by this Scott Herren (Prefuse 73, Savath & Savalas) alias. "Agony is not what comes to mind when I think of Scott Herren's music. The 25 year old multi-instrumentalist from Atlanta has many aliases: Delarosa & Asora on Schematic, Savath & Savalas on Hefty, and Prefuse 73 on Warp. All of his styles fill a listener's ear (and heart) with ecstasy, rather than agony. So why the name? To know the answer, you must read and listen further. Agony, Delarosa & Asora's first full-length album on Schematic, is alive, bubbling with melodies and frequencies that span a range of emotions from serenely mellow to brilliantly intense. Beauty threads every piece together, leading you on a meditative walk in you thoughts. Like cellular automata, minuscule clicks and pops assemble themselves in to rhythms that convolve into a dusty drum set, riveted cymbals vibrating, as a an assortment of sweet notes simmer inside a frothy soup of melodies. The sounds reach you ears, triggering feelings, like colorful brush strokes on a bare white canvas. Each song inspires new hues and patterns, and the end result is a painting you will examine long after the music has stopped. How is it that some art provokes us to paint by numbers with our own feelings? Although a work has a unique meaning to it's creator, we interpret it in our own way, making it ours. Art that does not dictate its meaning has this effect on us. This is a goal of good art, and Agony succeeds. There is one exception though, when we sense a precept from the artists -- at the opening of the song, Agony. A crying woman's voice is torn and stretched, kept from forming words, sentences, and maybe stories of pain. The symphony of lights distracts her and she is gone, they shimmer and grow into a landscape of lush sounds and colors. The tone is one of relief, serenity, and new insight. This is a perfect metaphor for understanding this album and its odd title. From the distressed woman's voice -- the anguish we face in the name of love, we earn peace. Pain, especially where love is concerned, can yield tranquility and wisdom. Just like salt is a key ingredient in the recipe for most desserts, though we never taste it, it would not be as sweet without it. Sweet music is the by-product of this Agony. Scott's influences may not be clearly evident in his music, but they carry weight silently through everything he does. Just as the jazz fusionists of the early 1970's combined the pounding, earthen rhythms of Africa with the acid-soaked psychedelic sounds of modern America, Herren adopts an indirect influence with a modern parallel. He takes what Schematic is known so well for - solid, intricate rhythms, woven together like a tough and resilient, dark fabric, and the fuses them to a cashmere, soft-colored melodic structure. His synthesis is something all together new for Schematic and electronic music in general. Organic and earthy in place of synthetic and alien. More precious and natural, sentimental and real, conscious of its' flaws. This is the gentle touch, or rather push that Schematic needed to produce a Lily of the Valley. This is the gentle touch that you need in your music collection. Take a moment, get comfortable, and have a listen. I think you'll agree." -- Josh Kay [Note: The cover says "Part 1" but this is a complete album and there is no "Part 2"!]
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SCH 046CD
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"Finesse and Runway is the trouble child of Miami booty bass and visqueen sheen post-disco 80s fury. Listening to Finesse and Runway is like strapping on afro-futurism night-vision goggles and looking at all your 1980s 7-inches. As much indebted to KMFDM as they are to Madonna, these electro-riotbots hold down the dance floor while simultaneously raising the jizz rag flag of sexual revolution. Finesse and Runway is the joint project of Miami natives Dino Felipe and Melba Payes."
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SCH 042CD
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"Crawling out of the decimated ooze that is 3rd period study hall, Schematic Waste Management is humiliated to announce Hearts of Darknesses' debut full-length, Music for Drunk Driving. HoD's epileptic beats are pure placenta future pudding topped off with rancid whipped cream processed aggro vocals and guitar that will touch the Chrome/Renaldo and the Loaf fan in you. This is downloadable shareware punk rock at its finest. Frankie Musarra, aka Hearts of Darknesses, is one part composer, five parts spaz and a dope emcee to boot. Musarra once became so entangled in his mic cord during a performance that he fell and broke his collarbone."
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2LP
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SCH 036LP
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2LP version, full color sleeve, same 12 tracks as the CD.
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CD
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SCH 036CD
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"A package arrived at the doorstep bearing the message 'Enjoy warm noise from Japan'. Contained within was the music of the newest addition to the Schematic family. Kiyo has arrived fully formed, after only one compilation track on Miami's Merck Records and two compilation tracks on Schematic's Well-Suited for General-Purpose Audio Work. Hailing from Japan, Kiyo is one Kiyoshi Ono and his debut album, Chaotech Odd Echo is a peaceful foray into the same territory as Schematic's celebrated Lilly Of the Valley, modernized with the same precision and angle that the label flaunts today. Chaotech is rare in that it achieves tranquility without the use of the somber and sedentary. Straddling the region between Takeshi Muto's rhythm experimentation, Delarosa & Asora's melodicism, and Dino Felipe's gritty interference, Chaotech Odd Echo will be a welcome addition to the collections of fans of the former, who are looking for a few more melodies, and for those who have been sidetracked by Schematic's recent venture into music for the severely distracted."
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CD
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SCH 033CD
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"Schematic's reissue of Glen Velez's phenomenal hand-drum improvisation from 1985 acts as one of the essential links to an understanding of the relationship between modern electronic composition and prehistoric sound, wherein Internal Combustion finds Velez's intense, lifelong study of the frame drum -- all his work for such artists as Steve Reich and Zakir Hussain, his decades of solo and ensemble recordings, his inspiration on, among others, John Cage -- is displayed with a total mastery and utter oneness with his instrument, showering the listener with nimble, double, triple, all-finger rumble patterns on the drum, circular and mesmerizing in structure, and reminiscent of Moroccan slave songs, Indonesian ritual music, Native American trance, as much as the sooty percussive sound of Phoenecia or Autechre, exploring an intense, almost palatal clap to the drum, searching for an unconscious connection to the higher power, like speaking in tongues through the skin of a drum -- a kind of incredible psychic ascension happens here, and it's a fitting tribute, not to mention an accurate lineage, to see Velez's ancient music has found a home at one of our most forward-thinking labels." -- Lee Henderson, Feb. 2002.
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LP
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SCH 034LP
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CD
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SCH 034CD
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"Nick Forté is from Brooklyn, but geographically speaking, his music falls somewhere between his living room (which he seemingly reconstructs in his visual design of Pasted Lakes) and Twin Peaks. He is half of the duo called Christmas Decorations whose recent album Model 91 on the Kranky label crept quietly into many charts and CD players late in 2002. Pasted Lakes is the remains of Nick's first foray into computer music, an album which may never see the light of day. From its' remains, he took scraps and reassembled them in an somewhat random manner, recycling and remolding them until they bore no resemblance to their source and took on a form of their own. Forté used old punk and hardcore records like the first Wire album, early Minutemen records, and Renaldo and the Loaf as inspiration -- but more as a guide than anything else. These albums did not lend influence sonically or musically at all, but towards pacing, structure, attitude, and sequencing. For Nick, these groups had really terse and impacting songs, and he wanted to apply these ideas to electronic music as much as possible. Musically, there was not much outside influence upon Pasted Lakes because he was heavily remixing himself, and 'really just trying to entertain myself at 3am by making new and strange sounds I had never heard'. Forté admits that if anything had an effect on his sound, it was his apartment. Hearing things like boiling water or rickety pipes and figuring out how to capture those ideas comes across in the record's faux yet life-like textural themes. In Nick's own words: 'The best music to me is dead serious but also really funny, so I started to go for that with Pasted Lakes.' The title of the record is more of a description of a style of song construction then anything, making finite pools of sound, and slapping them together with joyous reckless abandon. Cut, paste, listen, and save."
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2LP
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SCH 025LP
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Double vinyl version, featuring the same 13 tracks as the CD. Including the following artists: Tipper (Phoenecia remix), Otto Von Schirach, Dino Felipe, Kiyo, Phoenecia, Richard Devine, Canibal A:fraux.
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CD
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SCH 025CD
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Thirteen tracks, featuring the following artists: Tipper (Phoenecia remix), Otto Von Schirach, Dino Felipe, Kiyo, Phoenecia, Richard Devine, Canibal A:fraux. The Schematic crew returns once more with its fourth compilation of brain-straddling aural tanglements that realign your eardrums for this third modern millennium. Following ace products like Ischemic Folks, Lily of the Valley and House of Distraction, the Miami funkonaughts reveal 13 more salvos of digital composition sure to set your stereo on its side. Along with the spiney, crypt-ic soundz of hardened Schematic vets like Otto Von Schirach and Richard Devine, we're introduced to new ischemic émigré Kiyo, whose Jay Dee vs. Cornelius Cardew cage-match crumbles expectations. Newest Schematic progeny Dino Felipe contributes 3 tracks of jewelry-box ambience and whipsnap beats. Label founders Phoenecia return from space exploration and divulge what they found: a breed of arachnids that trap tribal acoustics in their webbings. Unreal. Well-Suited furthers the phaser-enabled laptop kaleidoscope that is Schematic. Beats shatter like junkyard windshields, soundscapes are manicured with schizzors, tonal patterns toppled. The art-enhanced beats of Miami's maniacs belongs on the gallery of your mind before relinquished to electronica history. Start your instillation today.
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7"
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SCH 029EP
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"As much a collectible as a piece of sound-art, Dino Felipe's wonderful-looking new 7" is a roughshod electronic beat micropiece. Like a pool cue stubbing on felt, or flat rocks on a pond top, DeLaVega bounces beats, handclaps and looped cell rings off your inner ear and between your speakers. Always stonking, the beat encounters some pitch-up sinewaves and fluttering static as the track progesses, as if they were pink puffy horseflies. Lambent and luscious. Then it's onto a short-circuit firecracker, scaly with noise. Sonic splatter drains from your tweeters, running into puddles onto the floor. Don't slip on this. The flipside puts you in the middle of the silicon circus, an organ-grinding bonk. A banging three-song slab designed to get your attention and lock it under a heart-shaped clasp, where it will glow warmly until you open it again. A lovely confection. Suck it and see." --David Day
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LP
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SCH 028LP
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CD
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SCH 028CD
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New mid-sized followup to the debut Dino Felip album Dino Felipe As Flim Toby. "We feel that Xanaconversex and is best (and inadvertently) described by a dream Dino had prior to the record's release. 'This morning I was dreaming a three dimensional collage composed of very sexy body parts and pieces of sound that were all melded together in the air and on the floor. The 'song' was based on the breathing sounds and sighs emitted from the body parts. All the sounds and shapes were different colors, all of them translucent, overlapping, converging, and receding. They were all live, organic performers and every once in a while i would shift to audio "mode" and the sexy image would switch to song. I would edit, mold, and fade the shapes by moving them around with my hands. I would arrange an elbow, move a shoulder, or shine a hip trying to perfect the collage, then i would stand back and say 'Wow, that's hot!' When I really liked it I would 'save' it, as if I were composing it on my PC, then go back to refine it. I knew i was dreaming, because part of my motivation for saving the collage was to show it to my friends in the 'real' world.' Befriend Dino Felipe and enjoy Xanaconversex today."
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12"
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SCH 027EP
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"Aside from Richard Devine and Phoenecia, no one embodies the Schematic sound like Miami-based Otto Von Schirach. On Pelican Moondance, the second installment in the Chopped Zombie Fungus trilogy, Schirach flashes his blades and edits techno to pieces, only to sew them back together into a beastly music. Comparable to the freakish soundtracks of Bernard Hermann or Tom Waits circa Swordfishtrombones, but refreshed an modernized to the hilt, the title track kicks it off. Schirach has cold-cocked his Powerbook, and it has mutated to produce a tempestuous, vipertine music. Like in 'Four Months, Four Walls' composed during his hospitalization, wherein you're suddenly deep in a spacious canyon. You notice the bass spreading all around your living room like space-fuzz, a low-end, warmly disruptive sonic buzz. Classic Shirach. Less spaztic than some copy-cat abstract beat projects, Chopped Zombie Fungus is compositional, like the tunneling soundtracks of the RZA or the sample arrangement from DJ Shadow. But Otto is not here to party -- his villainous, deadly beats have more in common with El-P than Cut Chemist. Like others on Schematic, Shirach has the whole sonic spectrum at his command. Deep bass and sinewave shards can be had in seconds, then hammered into foundational beats, sped up so fast they start to fray, or slowed down so they start to shrink. This is past Squarepusher, past IDM and into the sedimental, the fantasmic. You might say he's ready to blow up, but Shirach prefers to conquer. Surrender while you still can."
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2LP
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SCH 024LP
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CD
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SCH 024CD
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"Questions? Who is Dino Felipe? That question is easily answered. He's a 23 year old artist straddling the latitudinal stretch between Miami and Atlanta (home of other Schematic artists Richard Devine and Delarosa and Asora). No mystery in that? The real question is -- Who is Flim Toby? Flim Toby first appeared on a cassette released by the American Tapes label in 2001. The cassette was a recording of tape music, 4-track collages, and toy compositions created by one Dino Felipe Delavega. Flim Toby is a film. A 'scrambled up film in the shape of a person', to be exact. His whole life is displayed in the pictures on the surface of his skin, so he has nothing to hide. Nor does he have anything to say, it's all evident -- sort of an overstated interpretation of the life of an artist. During the recording of Flim Toby, Dino Felipe was 'obsessed with nature, life, and organisms', so he crafted collages out of untouched 'pictures' of sound. Samples of everything that touched him went into the mixture, from his neighborhood feathered friends, to archived childhood recordings, constructed by an expert machine operator and rhythmatist, with the natural, unsyncopated touch of a free jazz musician. Does all this sound familiar? Flim Toby doesn't unless you're Dino. It is his life in pictures and sound, though you may feel as if some of his memories are yours. You may see yourself in the pictures that Flim Toby is comprised of. If you do, then you just might have a new friend and a new soundtrack for a while. Beats? Yes. Music? Yes, a lot of that. Noise? Yes, that too. Intense? Sometimes. Mellow? Sometimes. Soulful? Definitely. Schematic? Definitely."
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2LP
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SCH 026LP
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Double-vinyl-only reissue of the now o/p Rather Interesting CD release. "As the name suggests, Dos Tracks :) seems to be dealing with the concept of 'tracks'. Simplicity is the key, as a DOS computer would only be capable of in today's home supercomputer driven world. Each song sounds as if it is constructed of two (dos) tracks, that is, two distinct lines of rhythm and only Schmidt can achieve 'music' through such minimalism and make a statement at the same time. Dos Tracks :) is sort of coming back to this musical theme for a last time before leaving the 90´ies. This album is a masterful interpretation of the soon to be obsolete machines this era represented by Schmidt in the form of digital pureness with a heavy glitch factor. Influenced by the internet, ASCII art, machine interfaces and various other 'end of 90´s technology' artifacts and philosophies, this product stands out in it´s unique structure and sound. From the monochrome 'Asciied' to clustered titles such as '1E.wav' and 'www.pringles.com', Dos Tracks :) shows us the cool face of Atom Heart. You won´t hear a single melody, no vocals, no emotions, no cheesiness and no humour on this album. Just pure binary neo-minimalism. Previously released only on compact disc through Atom Heart's Rather Interesting label, Schematic proudly presents Dos Tracks :) on double vinyl because of it's inherent grooviness. Enjoy and destroy."
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12"
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SCH 808EP
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The original "Odd Job" from 1999, finally available again, once again packaged in the classic blue "wired steak" cover. "The 'Odd Job' 12" is the latest addition to the Schematic product line. Rebuilt by Soul Oddity around the sophisticated Phoenecia version, this 12" combines power and rhythmic innovation to make any dancefloor compatible with the latest technology. The Odd Job 12" requires only a single expansion slot: your mind. It can be easily installed using ordinary tools. Odd Job comes complete with an external communications port that makes dancing convenient and easy." Features 2 tracks by Soul Oddity: "Get Fresh" & "Rhythm Box". Soul Oddity was the pre-Phoenecia duo of Romulo Delcastillo and J. Kay.
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12"
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SCH 022EP
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"On the way home from a mini-tour of the west coast Otto Von Schirach crashed his land craft and broke both of his legs badly. Special doctors were called in. They disassembled and rebuilt him; installed titanium, screws, cables, and microchips. He woke up not knowing his name. He sat in a white room in wheelchair for 6 months feeding on nothing but painkillers and new music. A new Otto emerged. More aware, more polished, more robotic. Boombonic Plague is chock full of pop-music. Mutated, vaguely familiar voices litter the beats asking 'do you really want it?', commanding 'shake that ass bitch and let me see what you got', and boasting 'boom i got your girlfriend' like a Brittney Spears collage on a serial killer's wall. Okay, so it's not pop music... It is hip-hop, or more appropriately, sitar-funk-hop. It is electro booty from the Miami side. It is drill (or some other power tool) and bass. It is shifted hardcore. It is junkyard broken (leg) beats. Otto says it's IDM. We don't know what to call it, but we like it and we think you'll dig it too. As the title implies, Boombonic Plague is the first installment in the Chopped Zombie Fungus Trilogy. It will be genetically spliced with the two following volumes -- Pelican Moon Dance and Ear Juice Synthesis to form one Chopped Zombie Fungus compact disc for your listening pleasure. Until then, enjoy this introduction to the new(ly reconstructed) Otto."
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2LP
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SCH 019LP
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Double LP version; out of print on CD for now. Second full length project by Richard Devine. "A short time ago, film director Kyle Cooper called Richard Devine. Somehow or other, Richard's small appearance on a small record (on a small record label) made it's way from a small section in a small store to a big desk somewhere in Hollywood. Since then, his enormity has been very obvious to a very big number of us. Recently his Lipswitch mini-LP was released by Schematic and Warp. Those of us who heard it had a penetrating auditory experience witnessing a true landmark in modern music. Although it is a rather small album, Devine's sound is huge. Lipswitch was intended to be a full-length album, but was trimmed down to the essential rhythmic core. What was left over was the heart of Aleamapper. From there Devine assembled the rest of the frame, and the result is rather like that of a movie score. Those who complain that electronic musicians from Devine's school lack musicality will find rest here. Devine's new compounds of sound are open to explore with the ear, and his subliminal music freely accompanies and frequently saturates the remaining spaces. Of the 64 minutes and 16 songs, only a short part follows any sort of cadence. Overall, there is a rhythm, but it is an overall rhythm; a varying pace throughout the album. Some parts idle where some accelerate to screaming crescendos. Some songs suggest locomotion while others wind down into nothingness. Tension and release string these songs together very much like a soundtrack. You can almost see the widescreen images attune with the mood and movement of each composition. The tracks feel more like scenes than songs. The whole listening experience is emotionally captivating in a way that is very unlike music, but rather like a movie. The earliest movies were silent visual films. Maybe the most modern films might be audible blind ones? This is Aleamapper directed by Richard Devine."
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CD
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SCH 020CD
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The 2nd full length Otto Von Schirach album, following up his devastating 2001 release, 8000 B.C.. Featuring guest appearances from Matmos, Dr. Flamenco, Takeshi Muto, Jeswa, Mr. Egyptian hologram, Queeph Brothersm & Mr. Soundwave. "The day Otto moved in, I was a little concerned. We had no spare rooms, only two couches in our modest downstairs living room- a room hardly fit for living in. When he pullled into the parking lot, his clunking '67 comet was filled with eyes and colorful faces, like the circus car that spews out an endless stream of clowns. Some of the faces were clowns, some were robots, there was an ET, a Transformer or two, scores of Smurfs, a Hellraiser Pin-head, a modified Pillsbury doughboy, and about three hundred other odd characters. One by one, they came inside to live. We already had a junglist living in the master bedroom, and now it was sure to get mad. Otto's ritual began. Every day he would wake up at two or three in the afternoon, get in his car and clunk away into the river of cars on the way to his Grandmother's house. There he would do odd jobs and run errands, and in return he would leave with a large coveted pot of his Grandmothers magic black bean concoction, worth more than any salary. On his way home, he would stop make a few drop-offs to various delinquents and mutants around the city. This was very stressful to him, but upon returning, suite d256 was quiet. I was usually the only one awake, quietly clicking my mouse, illuminated by the glow of a liquid crystal display in the upstairs studio. I would come down from time to time to get a bowl of rice or make some tea, and there, in the near darkness he would be, staring profoundly into the two inch green window of his drum machine, like a peeping tom looking through his favorite keyhole. His headphones would chatter, slurp, and giggle on his head like Jabba the Hut's little pet (I think they made sounds without even being plugged in). We would listen to each other's songs in mutual amazement. Inspiration would draw us back to work, new ideas forming as we went off to our separate screens. Around the time I'd tuck myself in, I would hear Otto's car starting, clamorous as a rusted shipyard boat, and again he would sail off, just hours before the sun would arc around the Atlantic curve to scorch the land. This time he was off to rehearse with his band, appropriately named Insectdezyde Juice. I never heard them play or saw where they practiced, but at that hour I imagine it was pretty grim. I suppose it was pretty exhausting, because when I would arise, he was always there, comatose on the couch in the broad daylight. Those of us who were awake would play music, talk, and eat in that, the "living" room, providing the subliminal soundtrack to Otto's dreams. Deep inside, dreams filled his head with sleepwalking burnt smurfs, competing plant couriers tailgating close behind, magic microphones jumping like fleas, eluding his grasp, while Phoenecian Warriors wandered through lost Incan cities in search of secret frequencies. The black bean potion churned deep inside of his sleeping body, changing him. Across town, his grandmother is stirring a bubbling pot. For a moment she pauses, looks up above the rising steam, and smiles. -? Joshua Kay
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SCH 020LP
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CD
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SCH 021CD
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New 'Odd Job" remix project, featuring remixes by Matmos, Adult, Dino Felipe, Prefuse 73, Otto Von Schirach and Jeswa. "'Odd Job' made it's way back to Japan, the land that brought it's circuits to life. It was with great honor that the Schematic scientists agreed to share it's formula with the people of the rising sun. It's legend was great, and their ancestors loved and feared it equally. From it's conception, Odd Job Discrimination was intended to be exclusively released in Japan with additional reports of research. PhoeneciaTM the secret inventors of 'Odd Job' were nowhere to be found. Report: Where is Phoenecia? Do they exist, or are they as arcane as their ancient namesakes? If they do exist, they maintain a peripheral, even hypothetical existence. Pictures of them exist and their names appear on many recordings, but each song, each reworking sounds so vastly different from one to the other. Not only does their formula change from one to the next, but so does the sound of the recording, as if it were made by separate entities under the guise of group. One could manage to release anonymous recordings with their name on them, but why? Is it a hoax? In their place stands their army, a team of specialists. Matmos, the medics, specialize in microchip implantation and cybernetic limb attachment. Their report 'The climactic battle scene between Rom and Josh' catalogs the last time Phoenecia were seen before their disappearance. Adult, the husband and wife assasin team offers a stern warning about their rhythm black box. With their go-go rapid-fire electrocution techniques, they manage to be both Adult-like And childish at the same time. Dino Felipe's examination proves that he's been isolated for too long. His theory is that Phoenecia are in an elevator somewhere in Atlanta (Atlantis?). We pray that he's wrong. Prefuse 73 is the cook. He reanalyzes the formula for 'Odd Job', noodles it up, and serves us his simple, but effective recipe. Budget gourmet, exquisite flavor at a nice price. Otto Von Schirach is the recon agent. His job is to steal the original formula and replace it with the reworked prototype. "Tre duece ave. smash and grab" is the gripping tale of how he did it. From the sound of it, he had to break a few windows and a few necks. Finally, with a soft, deep voice, team leader Jeswa (rumored to be Phoenecian) submits his sweet, short, and final report. Odd Job Discrimination has been delivered, and once again Phoenecia eludes us. These additions make it 13 reworkings of the yet to be seen 'original' version of 'Odd Job'. Other accounts were issued by Soul Oddity (last seen with Phoenecia), Autechre, Richard Devine, Push Button Objects, Ectomorph and Godfather, and Takeshi Muto (also rumored to be Phoenecian). If Phoenecia is a disappearing act, then Odd Job Discrimination is their greatest feat yet. Will they ever come to the surface? Will Japan make peaceful use of their new technology? Will the cloned cows revolt? Stay tuned to find out..."
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2LP
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SCH 011LP
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Repress now available; this new edition adds an inserted full color poster of the awesome cover Designers Republic artwork! "The Schematic music company proudly presents a variety pack entitled Ischemic Folks. Features multiple compositions by Phoenecia a.k.a. Soul Oddity (Warp/Astralwerks), Richard Devine a.k.a. Trapezoid (Dropbass Network, Communique), Jeswa (1/2 Phoenecian warrior), Push Button Objects (Skam/Chocolate Industries), new tricks by Gliese and special honored guest, Montreal composer David Kristian. This compilation defines the Schematic sound that has caught the hearts and minds of beautiful people everywhere." A mesmerizing, defining compilation that could have the same impact in the US as Artificial Intelligence did in the jolly ol' UK. It's that heavy duty in statement of intent. Totally appropriate Designers Republic graphic representation tops it off.
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